WHOOOOOHHHHHHHH!!!! Has anyone been checking out MOTU lately? 192kHz! Balls baby!

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pisces7378

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I check up on the MOTU website all the time because they have been stirring up the technological pot here and there lately with the rlease of their 2408 mkIII and then the 24I/O (96kHz)... but when I checked the www.motu.com website today my heart skipped about 12 beats as my jaw dropped to the floor looking at the new HD192kHz 24-bit suber system they have brought out. 12 analog ins and outs, 192 kHz, can add up to 4 expansion units for one PCI424 card. (48 x 192kHz I/O's), compatiable with every major sequencing softtware.

I know that DoggyDesign lead the professional market in post production and are the standard for recording studios from shore to shore but Jesus... unless you need to interface with some major studios out in Hollywood / London or you have a client that is on of those "has to keep up with the Jones'" kind of assholes.... why would ANYONE in the project studio/semi-pro/home studio market even consider DoggyDesign/ProTools as long as MOTU are putting out power house systems like the new HD 192kHz?

OK... I know that DoggyDesign HD cards are NON-native so you do not have to rely on having a bad ass Pentium 7, quadruple 35gHz processor, or a G10 NASA Macintosh processor. With the MOTU, all effects plug-ins and tracks run natively on the host processor(s). So there is an inherant limitation to anything that uses Native processing for effects and track playback. But with DSP plug-in cards like the UAD-1 and the PowerCore Plus all within budget... then topping it all off MOTU is giving us 192 kHz at a less than $1,900 cost... ProTools is definitly the thing to buy if you are going to be producing the next Hollywood flop... but for people that consentrate more on the music than sales figures, I take my hat off to MOTU and pray to God that they (or someone) give Doggy´Design a run for their billion dollar money!

(Just my opinion!)

Mike
 
Welll...

Maybe my point was lost in this post....

My point is... The audio world is split like nothing I have seen before. There is an OCEAN of products being developed every minute aimed at becoming the next "salt and pepper" for recording audio. Some good... most not so great. Now, there is also a whole lot of chunky equipment for those willing to cash in old war bonds and sell grandma's antique clock to record audio.

There are however, so very few products that seal up that gap. It seems that you are either working on ProTools or you are just playing with toys. Now, a lot of that is just big dick/little dick psychological marketing stuff. People throw words around like: the new "standard", "professional", "flexibility", "Shareability", "state of the art" et cetera et cetera.
All these words are contextually synonomous with one thing... "The hope that you, (yes YOU!!!) can produce a sound like you hear on your favourite CD and be using the same gear to do it as those billion dollar Los Angeles/London studios use to get that sound".

It is all about keeping up with the Jones'.

Now, this brings me to my point. Going out and buying a 192kHz interface from MOTU for $1,850 COULD very well mean that you see the high number of 192 and want you know that DigiDesign (the top dog) has those super sexy 192 interfaces. This would mean that you are a poser, probably not very talented, and are just a gear slut.

Now, if you are like myself and would kick in the extra cash for 192kHz over 44.1,48, or 96 because you see the logic in having as high a sample rate as you can get (considering storage space), then you are simply making an informed choice as to where to allocate money within your budget.

This thread was started to hear what people had to say about filling the gap between ProTools and the rest of the world. MOTU seems to be making a leap in that direction. And thankfully they are bringing a 1/10th the size proce tag with them.

Mackie is also one of these serious semi-pro companies. eMagic is also.(or arguably they WERE, before they sold out to Apple). RODE is, Yamaha. These are just a few that are raising the bar. And this may sound naive... but I would bet everything I have that a MOTU interface, an Apple or PC running Logic Audio Platinum v. 5.x, an analog 24 channel Mackie 8 bus mixer, a couple of Mackie near field monitors, some descent musicians, some Rode/AKG/AT mics, and a talented engineer could produce #1 hits on the charts just as slick, advanced and consistantly as any ProTools set up could. (Assuming that the room acoustics are great and the same.)

I am looking for a great interface with AT LEAST 12 analog i/o. 24 i/o would be ideal. I am only debating weather or not the extra 12 I/O's on the new 24I/O from MOTU (96kHz) sould force me to buy the 24I/O instead of the 12 I/O new HD192?

I could always expand the HD192 by adding another interface unit for a few hundered less. But then we are getting up into a sizable investment.

Anyway, typing these things out help me think them through. Hopefully you guys understand.

What do you think?
 
Gigahertz, baby!

Eventually, we'll be able to record the entire radio spectrum simultaneously ... so you can tune to whatever radio or TV channel you want when you play it back. Anything less will be antiquated in a matter of weeks.

Actually, forget that. I want a recorder that will record light as a wave in real time. A 2 million GHz sampling rate should about do it.
 
"I want a recorder that will record light as a wave in real time. "

Me too. I need 8 channels for $300.

-Jett
 
I sure hope motu has finally gotten someone who ISNT a total retard to write their driver app..its always cool powerful stuff, hidden in a useless software package
 
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